[Jonathan Cohn]

This wasnt shot in Frame mode. The canon GL2 has Frame mode.

This was shot in 24P mode with an xl2, and 2:3 pulldown is performed. That’s how they get it onto a minidv tape.

I can look at the footage on a tv and in the viewfinder, and it looks progressive. As soon as I capture it into final cut, no matter what my settings are, I get extreme interlaced footage during motion.

Even when i pause playback and the capture window is open in fcp, the frame that is frozen on the computer is interlaced to shit, and the frame in the viewfinder is nice and clean.

Is this making sense?

[Jonathan Cohn]

I’m confused…why are we talking about HD?
The XL2 is not HD. The camera records 24 frames progressive to 29.97 frames in miniDV format through 2:3 pulldown…unless you use the 24P advanced mode.

Right?

[Jonathan Cohn]

No problem Wayne, I figured that’s what you meant when you said 3 years ago…because I’m not sure if the XL2’s are that old.

Anyway… I am capturing via firewire and I would like to try the 2:3:3:2 to see if it solves the problem. I’ll have to check that when I get home tonight. I’ll fill you in.

Thanks for your time.

[Jonathan Cohn]

I did…straight from canon.com…

30p, or 30-frame progressive, is a non-interlaced format — the same as Canon’s Frame Movie Mode — and produces video at 30 frames per second. Progressive (non-interlaced) scanning mimics a film camera’s frame-by-frame image capture and delivers spectacular clarity for high speed subjects and a cinematic-like appearance. Shooting in 30p mode offers video with no interlace artifacts.

The 24p frame rate is also a non-interlaced format, and is now widely adopted by those planning on transferring the video signal to film. But film- and video-makers turn to 24p for the “cine” look even if their productions are not going to be transferred to film, simply because of the “look” of the frame rate. As well, the shutter speed of 1/48th per second is the standard shutter speed that movie cameras use. The combination of 24p frame rate and 1/48th perfectly mimic a motion film camera.

24p with 2:3 pulldown produces video with the look and motion of film. (24p, used in conjunction with a cine gamma curve on the XL2, produces images that have similar tonal characteristics as film.) This mode is used when the finished video is to be converted to 60i so that video can be viewed on a television. 24p with 2:3:3:2 pulldown is used when the video is to be transferred to film. The 2:3:3:2 pulldown allows editing software to extract true 24 frames a second.

[Jonathan Cohn]

Actually, I’m pretty sure the XL2 does shoot in true 24p. The DVX100a and the XL2 were the first prosumer cameras to offer true 24p. The GL2, on the other hand, has the Frame mode, which captures two frames at one time to offer a Cine-style look.

…I could be wrong though.

[Jonathan Cohn]

im still debating. i know having 3d stroke go behind and in front of layers is a problem, but it could be worth it. im probably going to make rows of buildings in photoshop, and then just bring them in layer at a time.

[Jonathan Cohn]

Hmm, maybe im looking for more of a cardboard cutout design. something dark, red and black. similar to a sin city animation.